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Статті в журналах з теми "Journaux dans l'art"
Holzinger, Flavie. "Étude de la pratique picturale d’un journal engagé." Emulations - Revue de sciences sociales, no. 9 (September 10, 2018): 21–26. http://dx.doi.org/10.14428/emulations.009.001.
Повний текст джерелаHemmings, F. W. J. "The Training of Actors at the Paris Conservatoire during the Nineteenth Century." Theatre Research International 12, no. 3 (1987): 241–53. http://dx.doi.org/10.1017/s0307883300013705.
Повний текст джерелаMandolini, Ricardo. "Mimésis, Heuristique musicale : sur les traces d’Aristote." Déméter, no. 7 | Hiver (December 1, 2021). http://dx.doi.org/10.54563/demeter.474.
Повний текст джерелаДисертації з теми "Journaux dans l'art"
Her, Mi-Hei. "Coffret double(s)-je(ux) : image-livre-théâtre." Paris 1, 2008. http://www.theses.fr/2008PA010567.
Повний текст джерелаLupas, Maria Cristina. "L'art dans les journaux intimes de M. Eliade, E. Ionesco, M. Sebastian et N. Steinhardt, 1927-1987." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10067.
Повний текст джерелаReflections about the nature and powers of art pervade the diaries of Mircea Eliade, Eugène Ionesco, Mihail Sebastian, and Nicolae Steinhardt. These reflections stem from the literary debates in fashion in Greater Romania in which all four authors took part. Their practice of diary keeping also goes back to this period. It especially characterized a group of young intellectuals launched by Eliade called the ‘Young Generation.’ The diary genre lends itself well to a type of study H. R. Jauss has called ‘reception.’ The receptions of art in the four diaries illustrate three powers of art. Art has a formative power: it teaches by opening the receiver to the world proposed by the work of art. Art also has a nationalistic power: as an instrument of national-identity building for the new Romanian nation-state, art did not escape the danger of politicization characteristic of so-called ‘minor literatures,’ a term this dissertation discusses, and the Romanian state practiced nationalist policies with regards to the arts. Lastly, art has a therapeutic power: it can help in coming to terms with painful experiences like that of the Romanian nationalist catastrophe by indirect and more attractive means. The text of the four diaries is here established from fragments published in Romanian and in French publications. The diaries reveal four lives that crossed paths and that shed light on each other and especially on the difficult re-readings of the Romanian past. Ionesco’s diary in particular emerges as an example of a therapy by art and of what Paul Ricœur has called a ‘work of memory,’ about his personal history, that of his generation and of twentieth-century Europe
Legrand, Thomas. "Juger l'art contemporain dans les médias de masse. Les critères d 'évaluation dans les journaux télévisés et sur Internet entre 2007 et 2011." Thesis, Paris 2, 2014. http://www.theses.fr/2014PA020083.
Повний текст джерелаThe purpose of this thesis is to identify criteria to understand how contemporary artworks make sense in public space. When conflict of opinions happen, protagonists are led to rise in generality to justify their point of view, which allows the researcher to access at values giving a meaning to the object. However, the influence of the promotional discourse from the contemporary art world and the constraints that transformed art criticism in a journalism disengaged and consensual make problematic the legitimacy of a negative critique in the public space. First, the research focused on the subjects covered by newscast about contemporary art in order to understand criteria raised by this communication journalism that tries to satisfy the variety of accepted values by society. Then, disputes on the social network YouTube were analyzed. These give access to a speech freed from the constraints of the art world and journalism where the expression of a negative critique is possible. Thanks to sociology of values and a discourse analysis, it was possible to typify the receivable arguments in the public sphere. This patterning allows to state the hypothesis that the political meaning given to art defuses, paradoxically, the possibility of controversy. This politicization of art promotes evaluation criteria of artworks whose consistency appears considering the ‘‘insolite’’ as a new aesthetic category common to different cultural practices
Giguère, Vincent. "L’image de Rome dans le journal de voyage de Benjamin Pâquet et les collections du Séminaire de Québec entre 1860 et 1900 : définir une culture visuelle par la représentation." Doctoral thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/68544.
Повний текст джерелаThroughout its history, Séminaire de Québec acquired works of art by way of purchases, donations, and legacies from the personal collections of priests who are members of the religious community of the institution. Whether these were objects of personal consultation, study collections for Université Laval — founded by the Séminaire in 1852 — or decorative artifacts in common spaces, some images stand out for the subject they represent and call for a reflection on the values that they can constitute within the institution.The strong representatives of Rome in the collection of prints imposes a questioning on the multiplication of objects on the same subject. This observation is also contemporary to the increase of the long-stay of priests in the Eternal City during the second half of the 19th century. Their travel reports allow them to state their perceptions of Rome, its monuments, its museums, its churches, its religiosity and its customs. From these stories, themselves generators of mental images, stands out the travel diary of the Archbishop of Quebec, Mgr. Joseph-Octave Plessis. Written in 1819-1820, this document allows to formulate hypotheses on the preparation of the journey of priests in Rome in the 19th century. Equally relevant, the travel diary of Abbot Benjamin Pâquet, written between 1863 and 1866 during his doctoral studies in theology at the Roman College, is a source from which concrete facts guide the definition of the visuality of Rome, understood as a urban ensemble and as an ideal and mythical place. From the descriptions of the sensory experiences that traveling priests make of places and objects, the physical images representing Rome kept at the Séminaire and at the Université acquire value and meaning. Concordance of objects and comments generates a corpus representative of a visualization of Rome and the Vatican at the Séminaire and at the Université during the targeted period. As such, graphic works of Roman monuments by Giuseppe Vasi or Giovanni Battista Piranesi, portraits of prelates of the Roman curia and of the Pope by the painter Vincenzo Pasqualoni, and albums of prints or souvenir photographs, create a set of references for the institution whose visual and cultural significance is based on facts and on a phenomenology of the sensitive experience. The fostering of diplomatic relations between the Holy See and the members of the Séminaire is a constancy that emerges from the analysis of textual sources. Around the same time of Abbot Pâquet’s journey, the Pope continued to apply strategies to consolidate his moral and symbolic authority, while his temporal authority was weakened by political upheavals in Italy. These strategies were characterized, among other things, by dogmatic decrees, the funding of archaeological sites, the restoration of monuments, artistic commissions, and reissues of prints in Rome, which influenced the development of the library and of the collections of Séminaire de Québec. To analyze these modes of correspondence which are both physical (objects), symbolic (images), spiritual and political, we have used the rules of the “common domestic world” defined by Luc Boltanski and Laurent Thévenot (1991) which are characterized by respect and recognition of authority and filiation. These make possible to understand the functioning of a life in common within a micro-society, like at the Séminaire; rules also influence its system of values. An intellectual link with the ideological, humanist and artistic values promoted by the Holy See explains the forms that the presence of the Pope and famous Vatican works can take in the imagination of the priests of the Séminaire. The visual culture of Rome and the Vatican, in the collections of the institution, is thus defined by the presence of a papal authority, guardian of the classical humanities, which is embodied through actions and aesthetics valuing Christianized ancient Roman heritage, historicism, purism and Raphael ism.
Fialcofschi, Roxana. "Le “Journal de Paris” et les arts visuels, 1777-1788." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20052/document.
Повний текст джерелаThe “Journal de Paris” first French newspaper renews the press standards at the end of the Old Regime.Through its daily publication and its research for a different type of information, the newspaper aims at becoming a more familiar correspondence among the citizens of a same town.Thanks to its daily publication it has been successful drawing lots of enemies as well due to a widely spreading press hardly submitted to censorship.The “Journal de Paris”, being the political field strongly forbidden, focuses its attention on public services and fine arts and architecture.It gives a very important place to visual arts (painting, sculpture, engraving, architecture, town planning) proposing to its subscribers a portrait of the artistic panorama carried out by one of a stable correspondent for arts, Antoine Renou, painter and assistant secretary for the Academy of paintings and sculpture.Despite the censorship imposed to the press by the academic institution, having the monopoly of a large part of the visual arts field, the debate upon the arts carried in the “Journal de Paris” shows a larger and more varied arts-oriented public, fascinated by the critical expression and the spreading of ideas
Книги з теми "Journaux dans l'art"
Londoño, María Wills. "Periódicos de ayer": Arte y prensa en Latinoamérica. Bogotá, Colombia: Banco de la República, 2021.
Знайти повний текст джерелаWoodin, Mary. The Painted Garden: A Journal. Running Press Book Publishers, 2000.
Знайти повний текст джерелаKaikodo. Kaikodo Journal V. unknown, 1997.
Знайти повний текст джерелаCordier, Samson Le. Journal de Navigation: Dans Lequel Est Plainement Enseigné Et Clairement Démontré l'Art Et La Science Des Navigateurs. HACHETTE BNF, 2020.
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